2006 - "H.M.S. Pinafore"

    The company just finished its annual production (Oct. 27 - 29). This year it was  "H.M.S. Pinafore,"  and once again, they did a great job.  Bill Sorensen's set was terrific, with two decks, a staircase, and a working cabin, as well as sails, rigging, and a backdrop of the ocean, and another ship.  Solveig Pflueger's costumes were again very effective and attractive, from her Navy uniforms to the ladies' gowns.  The sound and lights worked very well, and it was a joy to be able to hear all the vocal lines so well.

        The men's chorus outdid themselves with polished choreography and strong singing.  I happen to know, from watching rehearsals, that they really worked to pull all the moves together. The "Midshipmite," played by 11-year-old Joe Heitman, was very funny in some special moments, and he really knew all the chorus material.  The ladies' chorus also did a very good job, and sang and moved well.  Special mention should be made of Tori Church, who seemed to be the leader, and looked just beautiful.  The offstage "barcarolle" that the women sing sounded lovely, and well balanced, and the ladies' first entrance, with a double chorus with the men was strong, and effectively staged.
        As for the leads, they were also very strong.  John Swanson, as "Captain Corcoran," was one of the best.  He was able to handle both the comedy, and the serious singing with aplomb and charisma.  Two of his best moments were the 2nd Act opening, "Fair Moon," which he sang seriously, and with no "schtick" - and which was riveting - and the moement at the end of the show, when he has become a "common sailor," and says, with GREAT relish, "If what?" - showing that he still had great command.
        John's wife, Deanna Swanson, also did very well, as "Josephine."  Having played that part a long time aga, I know that it's hard, both vocally, and in trying to remain sympathetic, while being haughty.  Her voice never sounded tired, through all her soaring soprano work, and she was both pretty and funny in her acting.
        Of course, Leighton Phraner was a delight as "Sir Joseph Porter."  Here was a real pro, doing a part he knew very well, but keeping it fresh and funny.  He managed his opening patter song, "When I was a lad," beautifully, and I almost fell down laughing at all the silly encores of "Never mind the why and wherefore" (also known as the "Bell Trio"), in which he got more and more outrageous.  And John and Deanna, never let it get to them; they kept doing their parts heroically, while he raced around, waving flags, jumping overboard, and trying to take over the orchestra.  He was also very effective as the "voice of authority" who was finally over-matched by "Cousin Hebe."
        And speaking of "Hebe," both Julie Church and Renee Haines played the part very well.  Julie, in her first lead role with the company (she's really grown up!), sang very sweetly, and played the role as very prim and proper.  It made it all the more interesting when she danced with her sister in the first act finale, and when she had some funny lines in the 2nd act. I only saw Renee in rehearsal, but her take on the character was as effective as it was different.  She showed so much enthusiasm for every line and movement that "Hebe" has; she was really charming, with a beautiful voice.
        Julie's father, Allan Church, who has been a real stalwart in the company for years, had a plum role as "Dick Deadeye," and made the very most of it.  Even pretending to have a withered arm, and with a patch over one eye, he leaped and pirouetted around the stage, growling, and saying things like "You all hate me, don't you?"  For an out-and-out villain, he was - dare I say it - rather lovable!  Very funny, but with a good voice.
        Carol Connoly, as "Little Buttercup," also had a very good voice.  She sounded confident and comfortable with all her singing, and played her part beautifully.  She was alternately funny, motherly, girlish, mysterious, and even a little sinister, and was effective with all of it, as well as with her dialogue.
        Another lead who both sang very well, and negoriated some difficult words was John Craft.  He was charming and sympathetic in his role as "Ralph Rackstraw."  He had a very busy 1st act, but he handled it all with aplomb, singing with strength, but also sensitivity, and was alternately charming and funny.  He got a break in the 2nd act, but returned towards the end to become dominant again.
        Mike Reynolds proved his versatility in an ebulliant role as the "Boatswain's Mate."  He was able to capture the "everyman" quality of the part, while singing with strength and precision.  He also did a lot to help improve the quality of the men's chorus, both in singing and energy. His "Englishman" solo was a stand-out.
        Don Shirer and Bill Ziegler were double cast as the Carpenter's Mate, normally just a singing role in the very difficult a capella trio.  They both did extremely well, pretending to be lost in the music, and singing behind the beat, while actually singing correctly, and keeping the pitch up.  They also functioned well as sort of "cheerleaders" for the men's chorus, always giving a dialogue response which was echoed by the rest of the men.  It was an effective gimmic, which gave them a more important presence.
        The show was well staged by director Bob Cumming, and the music was prepared and directed well by John Dreslin.  The audience on opening night was large and enthusiastic.  I would hope that this trend continued for the rest of the performances.  It really was a very strong show!
                                                                                                                Respectfully submitted,
                                                                                                                Liz Rodie Jones (Web Provider)